After more than a year of work, EROS 4 comes out, an edition with which I wanted to overturn what is the idea of ​​modern photography and its fundamental dictates: detail, definition, contrast
In order to do so I wanted to destroy my photography, to destroy a common language of this modern society in which we live; a language that is now trivialized, abused, vilified in its primordial essence.
I have always been fascinated by the textures of the works of painters of the past, their colors, the pantones, the shades, the contrasts, the modeling of bodies in space that blend on materials such as stuccos, canvases, papers of various kinds.
It was through them that I wanted to destroy the modern image to bring it back to a dream vision. An obsolete vision, to tell eroticism in its essence, beyond the image itself.
In my opinion, eroticism does not need explanations, details, but visions, dreams, fantasies. Ideas.
It is about living in the moment, it is living the moment, the smell, the sound, savoring a look, listening to a groan, beyond the spaces, beyond the light, beyond the materials used to represent a perception.
I wanted to destroy photography as a cheap language of the representation of eroticism. I used old papers found in the cellars, in the markets, I used wrapping paper, sheets stained with coffee drops, wine marks left by used glasses, tears, cuts.
Destroy matter, break it up to give new life to matter itself.
Destroy the image and desecrate its classic representations to make it reborn.
Disrupt and humiliate the photo itself to give prominence and a new face to the eroticism of the women I have depicted.
A pharaonic work, which lasted more than a year, passed from the meticulous search for old, worn, battered papers, ... to go to Fine Art printing on these papers, often repeated several times before obtaining the desired result and then to end up with the acquisition of these prints in digital format
And lock up all Eros 4